From the Studio

thoughts on art and process in action from a contemporary artist

Posts Tagged ‘tech art

Studio in the Time of Covid

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Moroccan Desert from Mary March on Vimeo.

Creatives with materials have a bit of an edge in this isolation situation- while we may miss some things we bring our own world with us.  Also, my CFS/ME disability has taught me to appreciate the little things like my life depends on it, and this has served me well in these strange times.  In a way I am treasuring this time of focus.

While my house/studio is under construction (delayed now of course) I have been using the garage in our temporary house, not to mention exploding my Identity Tapestry yarn and other things around the house as usual.  I’m lucky the space works for me.  I am also profoundly lucky in my husband and kiddo.  We’ve all done very well together the past six weeks, despite being under the strictest possible isolation since I’m immune compromised.

garage studioI’ve been busy delving into the new series of encaustic paintings using dynamically programmed LEDs in collaboration with programmer Mark Kreigsman. The first piece was “Beneath these waves lies light”.  The second in the series (shown) is based on the Moroccan desert, and ones based on light through leaves and the northern lights are in in the final stage of programming. Thankfully I got materials for another six after that before the stores closed down.

These are especially interesting and challenging.  Rather than just the surface of the paint, or even light bouncing through layers of paint, now I have to get each stroke right from the base upwards.  The light coming through the piece shows every mark.  Also, different pigments filter light different ways, perhaps reflecting yellow but filtering orange, so in low light it looks orange and in bright light yellow. I have scraped off and repainted the last three two/three times each as I work through the unique properties of each set of pigments and work for just the right texture. Another step is finding the correct colors of light to program by their RGB numbers and seeing how they play through the paint, trying and tweaking, shifting combinations.  I paint in different lighting conditions over the first pass of basic light programming I can do myself, while tuning both the paint and light colors.  Then I work with Mark to get much more sophisticated layers of motion and mapping correct for the feel and goal of the painting.

These are incredibly engaging and fascinating for me despite their seeming simplicity and I haven’t seen anyone else do anything like them.  One thing though, they are very tricky to faithfully photograph or video and look significantly better in person.

In the meantime we’ve been locked down like everyone.   I was working on a new Identity Tapestry installation as well until that show got postponed.  I do what I can with the remaining energy I have to make masks which the lovely folks at Dames Do Care (ladies on motorcycles) deliver to places that need them.  Now with the 3D printer free of Identity Tapestry stuff  I can put the it to use on other PPE, which is gratifying.  We use our skills to do what we can in these strange and disturbing times.

Shows everywhere are understandably being canceled and postponed.  My upcoming installation at the Palo Alto Art Center is being postponed for a new show at a later date, with the June show canceled.  Another event out of state with an installation piece has been canceled, and there were two larger profile shows that were meant to be in China this fall, but are also likely to be canceled or postponed.  I absolutely don’t begrudge this and want people to stay safe and healthy.  I just hope our wonderful art institutions weather this storm with all the support we can give them.

 

 

Written by Mary Corey March

April 23, 2020 at 1:36 am

Knee Deep in Rainbows

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I’ve been busy.

Finished Access Box (one of 60+)
Finished correct size (not yet glued down)

 

Internals for the Access reader box
Internals for the Access card reader box

Access is nearly ready for action, thanks to the programing and hardware design of my friend and collaborator Daniel Garcia and the help of my three lovely studio assistants who have been sanding away at the 60+ boxes I printed on the 3D printer.

Access will have its first run of interaction at Intel’s conference in Portland, Oregon this May, where I will also be presenting a talk on intersections and empathy.

The piece involves a series of statements about Access with “Yes” and “No” buttons with card readers to log responses.  The statements cover all kinds of access based on education, physicality, finances, background, race, gender, age, sexual orientation, culture, social elements, etc. Like Identity Tapestry, specific statements are selected and phrased to focus on the _intersections_ so that one statement may cover different kinds of people’s specific access challenges.

Each visitor will have an access card (image below) to use in including their own access story into the piece. I made these softer and more tactile with an eye to giving them the approachability, uniqueness and comfort people find in my yarn to set against the more impersonal electronic devices.  The color of the card will determine the color shown in the data visualizations for the piece.  They go from statement to statement, scan their card, and then select “Yes” or “No” for each of the sixty statements.

Cards for the Access piece

In this first iteration,  the data visualizations will be on large monitors on either side of the piece, but future iterations will likely use project mapping or combinations of screens and projection mapping.  I have the advantage of knowing the specific group for this particular piece in advance and knowing everyone should have no trouble accessing the piece.  In future more public interactions though, the goal is to make the piece accessible to participants who do not speak English, or who are blind or wheelchair bound.  The fonts were already selected based on being better for those with dyslexia.

In the meantime I am working on a very special (and HUGE) version of Identity Tapestry which will include maps for the Museum of Contemporary Art, Tokyo (MOT). The show (Wandering, Mapping) will open on August 4th and run until October 20th, 2019. The piece will also feature a companion wall of responses on local, Tokyo paper I have hand-dyed alongside the yarn.

My studio helpers have been my hands through much of the dyeing process, and all of the measuring and winding and they’ve been wonderful.  I am looking forward to seeing everything up and installed!

 

Scenes of Surveillance

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A few scenes from the Bearing Witness Show of the pieces, artist talks and performances.

I’ve just added Digital Breadcrumbs (M.I.S.S.T)  and Online Profile to my website.

Bearing Witness: Surveillance in the Drone Age is Opening Tomorrow!

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text on podiumsm

Link to San Francisco International Arts Festival information

Link to Bearing Witness as part of San Francisco International Arts Festival

Calender for Bearing Witness: Surveillance In The Drone Age
May 21 – Jun 7, 2015 Fort Mason Center, SF
The San Francisco International Arts Festival and curators Hanna Regev and Matt McKinley present:Bearing Witness: Surveillance In The Drone Age

May 21 – Jun 7, 2015 Fort Mason Center SF, Ca

Curator’s Tour 1 – May 23 1 – 2:30pm

Convene in the Fleet Room at 1pm for viewing and discussion of works in this location before heading to the Herbst Pavilion and Cowell Theater Atrium where the tour concludes with a performance of Latifa Medjdoub’s ‘Conversations With The Root’ in the Cowell Theater Lobby at 2pm; free event

Curator’s Tour 2 – May 30 Noon – 1:30pm

Convene in the Fleet Room at 12pm for a special performance of Kinetech’s ‘Mirror #1, Time Bubble’ followed by a viewing and discussion of works in this location before heading to the Cowell Theater Lobby and Atrium. The tour concludes at 1pm with an encore performance of Igor Josifov’s ‘Wit-ness’ performance in the Herbst Pavilion; free even

Show Description:

“Bearing Witness: Surveillance in the Drone Age” is a comprehensive look at the wide reach and capabilities of technologies that trap us under a complex umbrella of surveillance technologies consisting of drones, phones and ubiquitous cameras and tether us together in unprecedented ways thanks to social media and the Internet at large. This exhibit is an opportunity to engage in conversation about the potential benefits of surveillance technology as well as the threats posed to fundamental rights of personal freedom and privacy.

The idea that as individuals we watch and, in turn, are watched on a local to a global scale within groups we self-select and by ‘eyes’ we will never see is the greatest source of angst within our current milieu of evolution toward a globally wired community. The prevalence of digital surveillance combined with ‘analog’ surveillance makes personal privacy a diminishing and prized commodity. The by-products of digital surveillance (pictures and video) immortalize both personal and public events and this documentation is readily accessible thanks to cheap memory and social pressure to network and share digitally. Easy access to information capturing devices and storage allows for unprecedented documentation of all types of data, innocuous to important, in massive quantity, which not only leaves behind the greatest footprint of a single generation’s existence, ever, but poses real threats to our identities, rights to privacy, and unique ways of experiencing life.

This exhibit features work by:
Shay Arick, Alex Benedict (1030 Art Group), Tana Lehr (1030 Art Group), Yoni Mayeri (1030 Art Group), Teddy Milder (1030 Art Group), Jane Norling (1030 Art Group), Lanny Weingrod (1030 Art Group), Anna Kaminska (1030 Art Group) and Michel Bohbot, Matthew Silverberg (1030 Art Group), Lark Buckingham, artPaul Cartier, Irene Carvajal & Alex Shepard, Justin Hoover & Rachel Znerold, Phillip Hua, Philippe Jestin, Igor Josifov, Ali Kaaf, Pantea Karimi, Jonathon Keats, Scott Kildall, Mary March & Christopher Saari, Kara Maria, Latifa Medjdoub, Wes Modes (Co-related Space), Lanier Sammons (Co-related Space), Brent Townshend (Co-related Space), Daniel Newman, Maya Smira, Melissa West, Weidong Yang (Kinetech), Daiana Lopes da Silva (Kinetech), Lisa Blatt, Tayeb Al Hafez, Antoine Kem, Trevor Paglen

Featured Events:

Panel Discussion: The Edward Snowden Revelations and the Public Right To Know – May 30 1:30 – 3pm

The Electronic Frontier Foundation (EFF) and artists Phillip Hua and 1030 Art Group members in conversation with curators Hanna Regev and Matt McKinley; free event
About the Festival:

The San Francisco International Arts Festival (www.sfiaf.org) celebrates the arts by bringing together a global community of artists and audiences. The organization presents innovative projects that are focused on increasing human awareness and understanding. SFIAF’s curatorial priorities include developing collaborative projects led by Bay Area artists working with their national and international peers and presenting world-class international artists who often do not have US representation and whose work is rarely (or never previously) seen in the United States.